Top 1200 Space Odyssey Quotes & Sayings - Page 3

American Odyssey' will be an amazing adventure inside the musical walls of our cities. It's theater, and radio has always been great theater to me.

The great thing about space films generally, with the exception of Apollo 13, is that big stars tend not to work in space and I think that's because space is an equaliser. It makes everyone the same really and suits an ensemble cast and actors who are prepared to work with each other.

I practiced on the greatest model of storytelling we've got, which is "The Iliad" and "The Odyssey." I told those stories many, many times.

We are always in the space in-between... all the spaces where you are not actually at home. You haven't arrived yet.... This is where our mind is the most open. We are alert, we are sensitive, and destiny can happen. We do not have any barriers and we are vulnerable. Vulnerability is important. It means we are completely alive and this is an extremely important space. This is for me the space from which my work generates.

Now with the international space station generating a bunch of video, and Space X and other companies pursuing private space flight, I think it's on all of our radars much more than it has been since the moonshots. The science of filmmaking is making these visions possible now.

In the space which thought creates around itself there is no love. This space divides man from man, and in it is all the becoming, the battle of life, the agony and fear. Meditation is the ending of this space, the ending of the me.

We've been surrounded by images of space our whole lives, from the speculative images of science fiction to the inspirational visions of artists to the increasingly beautiful pictures made possible by complex technologies. But whilst we have an overwhelmingly vivid visual understanding of space, we have no sense of what space sounds like.

I read the Odyssey because it was the story of a man who returned home after being absent for more than twenty years and was recognized only by his dog.

The Space Shuttle will stop directly below the Space Station and Sergei and I will be looking out two different windows looking straight down at the Space Shuttle.

On my second space walk, I was riding the Canadarm, heading down toward the payload bay of the space shuttle, and I could see the space shuttle highlighted against the Earth in the background, and there was this black, infinite, hostile void of space. I remember looking down at the Earth and thinking, "Beneath me is a 4½-billion-year-old planet, upon which the entire history of the human species has taken place." That was an incredibly humbling moment, and I had a bit of an epiphany.

Looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. The energy and space around a material are as important as the energy and space within. The weather--rain, sun, snow, hail, mist, calm--is that external space made visible. When I touch a rock, I am touching and working the space around it. It is not independent of its surroundings, and the way it sits tells how it came to be there.

I think it was lucky that during most of the work on the Odyssey I lived on Homer's sea in houses that were, in one case, shaken by the impact of the Mediterranean winter storms on the rocks below.

Interfacing street sculpture in public space creates an installation environment that turns regular space into art space. Signs and people and everything around a street sculpture-they all become part of it. A two-dimensional work, being confined to surfaces, doesn't have as much of a capacity.

The truth us that other systems of geometry are possible, yet after all, these other systems are not spaces but other methods of space measurements. There is one space only, though we may conceive of many different manifolds, which are contrivances or ideal constructions invented for the purpose of determining space.

There's a huge amount of pressure on every astronaut, because when you get right down to it, the experiments that are conducted on a space flight, or the satellites that are carried up, the work that's to be done, is important and expensive work, and you are up there for a week or two on a Space Shuttle flight. The country has invested a lot of money in you and your training, and the Space Shuttle and everything that's in it, and you have to do things correctly. You can't make a mistake during that week or two that you're in space.

I suppose I'd have to say that my favourite author is Homer. After Homer's Ilaid, I'd name The Odyssey, and then I'd mention a number of plays of Euripides.

And the fear of not being is born in that space. But in meditation, when this is understood, the mind can enter into a dimension of space where action is inaction. We do not know what love is, for in the space made by thought around itself as the me, love is the conflict of the me and the not-me. This conflict, this torture, is not love. Thought is the very denial of love, and it cannot enter into that space where the me is not. In that space is the benediction which man seeks and cannot find. He seeks it within the frontiers of thought, and thought destroys the ecstasy of this benediction.

I think I need to continue to think and plan and marry all of the different things that we could do that make transportation in space from the earth to the space station, from the earth to the moon to space stations around the moon to visiting an asteroid.

I did a play called Throne of Straw when I was 11, at the Odyssey Theatre in Los Angeles. It became really clear to me at that point that I enjoyed acting more than any other experience I was having.

reaking up the space and using the space, using the length of the space, the height of it, whatever, the light, all of those things. It's something that you have to kind of slowly recognize in your work and develop over years of making work.

Go over to Greece with the Iliad and Odyssey. These have elements of history, and they have non-historical elements. It's very difficult to pull them apart. And I think there's not much reason to.

Epic stories, especially 'quest narratives' like 'The Iliad' and 'The Odyssey,' are brilliant structures for storytelling. The quest lends itself to episodic storytelling.

I've been doing a few interviews since the loss of the SpaceX Dragon on its way to the Space Station. Each one very quickly questions the viability of what they call commercial space in light of the failure. I tell them space is hard: this is what happens early in a program with new technology.

My work at MIT had focused on what we could build in space once we had inexpensive space transportation and industrial facilities in orbit. And this led to various sorts of work in space development.

You have got to be one step ahead, as a striker, to create that space you need. Apart from the ball, when you're a striker, it is space that's your best friend. You need space.

Healthy mysticism praises acts of letting go, of being emptied, of getting in touch with the space inside and expanding this until it merges with the space outside. Space meeting space; empty pouring into empty. Births happen from that encounter with emptiness, nothingness. . . . Let us not fight emptiness and nothingness, but allow it to penetrate us even as we penetrate it.

I think songwriters are more related to fiction writers. The Odyssey was a story in song. To me, that's so beautiful, all those painted characters, all those travels and adventures.

If you ask "Should we be in space?" you ask a nonsense question. We are in space. We will be in space.

Time is said to have only one dimension, and space to have three dimensions. ... The mathematical quaternion partakes of both these elements; in technical language it may be said to be 'time plus space', or 'space plus time': and in this sense it has, or at least involves a reference to, four dimensions. And how the One of Time, of Space the Three, Might in the Chain of Symbols girdled be.

If I could get one message to you it would be this: the future of this country and the welfare of the free world depends upon our success in space. There is no room in this country for any but a fully cooperative, urgently motivated all-out effort toward space leadership. No one person, no one company, no one government agency, has a monopoly on the competence, the missions, or the requirements for the space program.

In 1976 the Toxic Substances Control Act was passed, sending the EPA on a 30-year-plus odyssey chasing down the chemical industry in a fruitless quest for responsibility.

In the original 'Star Trek' TV series, space stations served as deep-space research laboratories, as well as rendezvous points where starships could dock before exploring the unknown. When we were envisioning our own space station, the applications were similar.

I think that it's good for us to be able to travel in space and do research in space, and I emphasize the research, because space travel to me is far more than just seeing how far we can go.

We name one thing and then another. That’s how time enters poetry. Space, on the other hand, comes into being through the attention we pay to each word. The more intense our attention, the more space, and there’s a lot of space inside words.

The future of humanity in space will be determined by the answer to a key question: What will happen first, the first human born in space or the first combat fatality in space?

And from, you know, small ideas, bigger ideas emerge. So we're starting with suborbital space flights and we'll then go into orbital space flights and, you know, maybe one day we'll send people on a one-way voyage into the depths of space as per the science fiction trips.

Poems are language turned into art; sound and sense matter; they can be as long or longer than The Odyssey or as short or shorter than a haiku. Not very helpful.

I actually had four space flights altogether, three times on shuttles. My second flight was really unique for me because I was going back into space, first of all. The first one was like an appetizer at a nice dinner. You know, you want to go up and you want more. So, the second time I got into space, it was neat because I got to actually do two space walks.

The fight for free space-for wilderness and for public space-must be accompanied by a fight for free time to spend wandering in that space. Otherwise the individual imagination will be bulldozed over for the chain-store outlets of consumer appetite, true-crime titillations, and celebrity crises.

What greatly attracted me - and it was the main line of advance of Cubism - was how to give material expression to this new space of which I had an inkling. So I began to paint chiefly still lifes, because in nature there is a tactile, I would almost say a manual space... that was the earliest Cubist painting - the quest for space.

'The Odyssey' is the great tale, and I was really taken by 'The Iliad,' so I dig into those things, and when I was a kid I didn't. You've gotta have a certain level of understanding yourself before that stuff really starts to resonate.

The question to ask is whether the risk of traveling to space is worth the benefit. The answer is an unequivocal yes, but not only for the reasons that are usually touted by the space community: the need to explore, the scientific return, and the possibility of commercial profit. The most compelling reason, a very long-term one, is the necessity of using space to protect Earth and guarantee the survival of humanity.

No ancient story, not even Homer's Iliad or Odyssey, has remained as popular through the course of time. The story of Rama appears as old as civilization and has a fresh appeal for every generation.

We dig a well and create a huge pit. The space in the pit or well has not been created by us. We have just removed the earth which was filling the space there. The space was there then and is also there now.

NASA was going to pick a public school teacher to go into space, observe and make a journal about the space flight, and I am a teacher who always dreamed of going up into space.

Actually, I was the seventh private explorer but the first Canadian 'space clown.' I never dreamed of going into space; I just dreamed of traveling. But I admit that space is an incredible destination and the absolute traveling experience.

As a scholar who regularly surveys archival material, I think that, a century from now, cultural historians will find David Horowitz's spiritual and political odyssey paradigmatic for our time.

For it is only framed in space that beauty blooms. Only in space are events and objects and people unique and significant-and therefore beautiful. A tree has significance if one sees it against the empty face of sky. A note in music gains significance from the silences on either side. A candle flowers in the space of night. Even small and casual things take on significance if they are washed in space, like a few autumn grasses in one corner of an Oriental painting, the rest of the page bare.

Patriarchy appears to be everywhere. Even outer space and the future have been colonized. As a rule, even the more imaginative science-fiction writers (allegedly the most foretelling futurists) cannot/will not create a space and time in which women get far beyond the role of space stewardess.

Adaption of the human body in space is not yet mastered. As soon as you hit space, you feel your body is going through a period of mutation. There's no blood in your head; you have a hard time swallowing. We're not born to naturally be in space.

Russia and the U. S. have announced they are definitely planning several space machines. So it's quite possible that the first space ships or satellites may encounter other interplanetary machines, manned or otherwise. Our space devices may even be closely approached by such alien machines.

My interest in space started early, but for many years, I could not find any space-related investments that really penciled-out for venture. That changed in 2009 when Elon Musk came to us with a big vision to explore Mars while producing rockets at a fraction of a price and making space accessible.

In my earlier paintings, I wanted the space between the picture plane and the spectator to be active. It was in that space, paradoxically, the painting 'took place.' Then, little by little, and to some extent deliberately, I made it go the other way, opening up an interior space... so that there was a layered, shallow depth.

We all have different brow bones, and different amounts of space between the eyebrow and the lashes; the space on the upper lid is bigger or smaller, the space on the bridge of the nose or between the eyes is wider or narrower. Everyone is different.

It is time to kickstart a new U.S. space transportation industry and time to spread that industry into space itself, leveraging our space station legacy to ignite imaginations and entrepreneurship so that we can move farther out, back to the Moon, out to the asteroids, and on to Mars.

You know the Einstein waves can be thought of as a distortion of space and time. But the way we see it, we see it as a distortion of space. And space is enormously stiff. You can't squish it; you can't change its dimensions so easily.

I had always spoken about the space between the art object and the person looking at it as this dynamic space, which I referred to over and over. So the idea of the space between two things was sort of interesting to me.

In the physical universe, there are objects that include suns, planets, all life, and all matter in all dimensions. And then there is the space where all these things exist. That space is the vital element. For virtually every kid since 1968 who picked up a guitar to find his voice on the instrument, Jimmy Page has been the space that enables all our notes to be played.

I created my own space, which was called the cave. It was a live/work space in downtown Los Angeles on 7th and Spring. When I lived there it was quite derelict. I got this massive space and half of it was my bedroom and the other half of it was the back room - no [natural] light, all fluorescent lights.

The teacher showed us how to see proportions, relationships, light and shadow, negative space, and space between space - something I never noticed before! In one week, I went from not knowing how to draw to sketching a detailed portrait. It literally changed the way I see things.